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From the Terrace
Theatrical release poster
Directed byMark Robson
Screenplay byErnest Lehman
Based onFrom the Terrace
by John O'Hara
Produced byMark Robson
Starring
CinematographyLeo Tover
Edited byDorothy Spencer
Music byElmer Bernstein
Distributed by20th Century Fox
Release date
  • July 15, 1960 (1960-07-15) (United States)
Running time
144 minutes
CountryUnited States
LanguageEnglish
Budget$3 million[1]
Box office$5.2 million (US and Canada rentals)[2]

From the Terrace is a 1960 American DeLuxe Color romantic drama film in CinemaScope directed by Mark Robson from a screenplay by Ernest Lehman, based on the 1958 novel of the same name by John O'Hara. The film stars Paul Newman, Joanne Woodward, Myrna Loy, Ina Balin, George Grizzard, and Leon Ames, with a young Barbara Eden appearing in one scene. The plot tells the story of the estranged son of a Pennsylvania factory owner who marries into a prestigious family and moves to New York to seek his fortune.

This was the third theatrically released film that real-life spouses Newman and Woodward made together.[3]

Plot

[edit]

In 1946, navy veteran David Alfred Eaton returned home from the war to Philadelphia. He finds his mother, Martha, driven to alcoholism by years of neglect and abuse from her husband Samuel Eaton, owner of a prestigious iron and steel company. Having withdrawn from his family after the death of his firstborn son thirteen years earlier, Samuel has resentment towards Alfred. As a result, Alfred turns his back on the family business and strikes out on his own with his closest friend Lex Porter.

While attending a party at the estate of Lex's wealthy uncle, Alfred is dazzled by Mary St. John, the daughter of a wealthy family. Mary is drawn into a relationship with Alfred and defies her parents by breaking her secret engagement to Dr. Jim Roper. After Alfred's father Samuel falls ill, Alfred shuns the family business once again to start an aviation company with Lex.

On his wedding day, Alfred receives word that his father has died. With his uncle's money, Lex funds the Nassau Aircraft Corporation with Alfred, but Alfred becomes impatient when Lex shows more interest in perfecting aircraft designs than in selling aircraft.

One wintry day, Alfred and Mary are driving home from a party when they see a little boy fall through the thin ice of a frozen pond. Alfred plunges into the icy waters to save him. The boy's grandfather, James Duncan MacHardie, the most famous financier in America, invites Alfred and Mary to dinner. MacHardie offers Alfred a job in his investment firm.

Obsessed by the need to outdo his father, Alfred travels the country for MacHardie, leaving Mary alone for months at a time. Lonely and self-pitying, Mary begins to resent Alfred's constant absences. MacHardie's son-in-law, Creighton Duffy, suggests that Alfred spend two months in rural Pennsylvania checking out the business aptitude and prospects of Ralph Benziger, a prosperous coal mine owner.

After an ugly argument with his wife, Alfred goes to Pennsylvania. Invited to dinner at Benziger's home, he meets Natalie, the man's beautiful and compassionate daughter. Feeling lonely, Alfred impetuously invites Natalie on a date, but she refuses because he is married. However, she later reconsiders and meets him at a drive-in movie the following evening.

Alfred confides to Natalie that her warmth and generosity have made him realize what a sham his marriage is. They share a kiss, but Natalie still believes they must end this relationship before it goes any further.

Upon returning to New York, Alfred is immediately summoned to MacHardie's office. He is informed that Mary has been having an affair with Dr. Roper. However, the archly conservative MacHardie warns Alfred that he will not tolerate divorce within his firm. MacHardie also assigns him to analyze the Nassau Aircraft Corp., his former firm, as a possible investment.

One night while leaving a party with his wife, Alfred unexpectedly encounters Natalie in front of the hotel. Sensing that Alfred and Natalie are intimate, Mary vindictively calls Roper and makes a date with him. Alfred goes to meet Natalie and tells her that, although he is estranged from Mary, his career prevents him from requesting a divorce.

Alfred begins to investigate Nassau Aircraft's business practices. Duffy, who has become unethically involved with Nassau and will reap a financial windfall if MacHardie invests in the company, threatens to blackmail Alfred unless he suppresses his report.

Alfred and Natalie meet for a tryst in a hotel room. Photographers hired by Duffy burst in and captured their indiscretion. Natalie, uncertain if Alfred's main concern is to save her reputation or his career, decides to leave. Mary suggests to her husband that they share an open marriage, seeing whomever they please. The scandalous photos are delivered to Alfred at his home.

At work the next day, MacHardie ushers in Mary to celebrate Alfred's surprise promotion to partner. Alfred rises and denounce MacHardie's hypocrisy of placing success and social position above personal responsibility and happiness. Alfred then issues the uncensored report exposing Duffy's duplicity and walks out. Mary runs after him, but it is too late. He leaves her for good and returns to Natalie's home for a new life—with his wedding ring now missing from his finger.

Cast

[edit]

Release

[edit]

The film had its world premiere engagements at the Paramount Theatre and Murray Hill Theatre in New York City on July 15, 1960.[5]

Reception

[edit]

Howard Thompson of The New York Times wrote: "This is a handsome picture, well-performed and emotionally intriguing ... However, for a drama so sharply and ironically concerned with human foibles, in business, love and marriage, it lacks real culminative power."[6] Variety stated that "the more discriminating film-goer will find 'From the Terrace' seriously deficient. Whether the fault lies with O'Hara's basic material or Ernest Lehman's screenplay is difficult to assay by a reviewer who skipped the novel ... On the assumption that Lehman followed the O'Hara story closely, the blame must be placed squarely on the novelist, for 'From the Terrace' builds up to one big cliche."[7] Philip K. Scheuer of the Los Angeles Times wrote that the film "has been bolstered a degree above soap opera by its creators and does make a point of sorts against modern materialism", though "one is left with the feeling that its makers were not able to compress the portions that they have used into a drama of much consequence or climax".[8] Richard L. Coe of The Washington Post called the film "an interminable essay on the horrors of money, love, and sex", with a story that "has more gaps than a dial phone".[9] Harrison's Reports was positive, declaring it "Outstanding entertainment ... It is loaded with brilliant dialogue, expert acting, human interest, suspense, and some comic touches."[10] The Monthly Film Bulletin called it "a seriously deficient film. After a long prologue devoted to providing a motivation for Alfred's obsessive pursuit of wealth (in the course of which Myrna Loy's thorough portrayal of alcoholic misery becomes a stiff price to pay for what amounts to very meagre enlightenment), the film builds up to a shapeless monument of banality."[11] John McCarten wrote in The New Yorker that "Mr. Robson's direction is, except for the first few scenes, unimaginative. But then, the screenplay Mr. Lehman has come up with would hardly inspire anybody."[12]

Joanne Woodward later admitted to having "affection" for the film "because of the way I looked like Lana Turner."[13] Her glamorous costumes were designed by Travilla.

The film holds a score of 31% on Rotten Tomatoes based on 13 reviews.[14]

Notes

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References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

From the Terrace

View on Grokipedia
from Grokipedia
From the Terrace is a 1960 American romantic drama film directed by Mark Robson and adapted from the 1958 novel of the same name by . Starring as the ambitious Alfred Eaton, as his wife Mary St. John, and featuring , , and in supporting roles, the film explores themes of success, infidelity, and familial dysfunction in post-World War II America. Produced by Twentieth Century-Fox and filmed in and , it premiered in New York on July 15, 1960. The story centers on Alfred Eaton, a veteran who returns to his affluent but troubled family in , rejecting his father's steel business to forge his own path in New York finance. His marriage to the socialite Mary deteriorates due to his professional obsessions, leading to an affair with the younger Natalie Benziger, which complicates his rising career and personal life. Mark Robson, who also served as producer through his Linebrook Corp., oversaw the adaptation written by , condensing O'Hara's expansive narrative into a focused drama spanning locations in , New York, and . The film marked the feature debuts of actors Elizabeth Allen and . John O'Hara's source novel, published by Random House on November 27, 1958, chronicles the life of protagonist Raymond Alfred Eaton from his youth in early 20th-century Pennsylvania through his experiences in World War I, marriage, career in banking, and government service during World War II. The novel spans much of the first half of the 20th century, delving into themes of ambition, social rituals, and personal failures, with Eaton grappling with paternal rejection, guilt, and romantic entanglements, including his love for Natalie and divorce from Mary. Critics praised O'Hara's detailed reportage of American social and business life, though some noted its explicitness and length as potential drawbacks. The film's adaptation shifts the timeline to the post-World War II era, emphasizing contemporary tensions around wealth and morality.

Background

Novel

From the Terrace is a by American author , first published on November 27, , by . Set in early to mid-20th-century America, spanning the 's life from the early to the 1950s, the book explores themes of ambition, , and within the affluent Eaton family, chronicling the personal and professional struggles of its against the backdrop of industrial . At 897 pages, it became one of O'Hara's longest works and a , reflecting the era's economic boom and moral tensions. John O'Hara, known for his social realist style that meticulously documented the lives of upper-class Americans in Pennsylvania's industrial towns, drew from his own upbringing in Pottsville to create the fictional Port Johnson setting. The novel employs a character-driven structure, spanning from the early through the , with a focus on dialogue and internal monologues to reveal societal hierarchies and personal failings. O'Hara's approach emphasizes , portraying the nuances of , power, and moral compromise without romanticization. The story centers on Raymond Alfred Eaton, whose childhood in Port Johnson is marked by trauma from his mother Victoria's and the rigid expectations of his father, Samuel, a self-made steel magnate running the Eaton Iron Works. His education at Princeton is interrupted by World War I service . Extended scenes depict the Eaton family's strained dynamics, including Alfred's early sexual experiences, his resentment toward his father's favoritism of an older brother, and the hypocrisies of Philadelphia's elite social circles intertwined with the industry. As Alfred rises in business following his service, with further developments during and after , his affairs and ambitions lead to personal disintegration, highlighted by detailed explorations of and class conflicts unique to the novel's expansive timeline. In adapting the novel for the screen, screenwriter condensed its sprawling structure, toning down the explicit sexual content and slower pacing to suit cinematic constraints, while adjusting character ages and timelines to begin rather than from childhood.

Screenplay development

Twentieth Century-Fox acquired the film rights to John O'Hara's novel From the Terrace prior to its October 1958 publication, outbidding four other studios in a competitive for the controversial . The studio aimed for a swift to capitalize on the book's anticipated success, with initial development beginning shortly after the acquisition. Screenwriter was hired to adapt the expansive 897-page novel into a suitable for cinema. Facing the challenge of condensing O'Hara's detailed narrative, Lehman focused on a 15-year span of Alfred Eaton's adult life, shifting the timeline from in the book to the post-World War II era to heighten contemporary relevance. This approach emphasized visual depictions of Eaton's career ascent in and his extramarital affair, prioritizing external conflicts and drawn from O'Hara's style over the novel's extensive internal monologues. Key adaptations streamlined the source material for a 144-minute runtime, removing subplots involving extended family scandals and Eaton's boyhood experiences, as well as his later naval career culminating in a position as . These omissions centered the story on Eaton's , professional ambitions, and romantic entanglements, while introducing more direct confrontations to improve pacing and dramatic tension. The screenplay also altered the novel's ending, diverging from O'Hara's portrayal of Eaton's ultimate defeat to provide a more resolved cinematic conclusion. As both producer and director, Mark Robson collaborated closely with Lehman during on script revisions, particularly to amplify emotional stakes in the intrigue and romantic subplots. These adjustments ensured the maintained narrative momentum while preserving core themes of ambition and moral compromise from the original novel.

Production

Casting

The principal cast of From the Terrace features in the lead role of Alfred Eaton, an ambitious executive navigating post-war America and his family's steel business. portrays Mary St. John, the who becomes Alfred's wife amid societal expectations. plays Martha Eaton, Alfred's supportive yet conflicted mother, while embodies Samuel Eaton, the stern patriarch and company founder. stars as Natalie Benziger, Alfred's passionate lover, in a role that marked her breakout performance and earned her a Golden Globe Award for New Star of the Year – Actress, along with a nomination for Best Supporting Actress.
ActorRoleDescription
Alfred EatonAmbitious executive and veteran rising in finance
Mary St. John wife entangled in a strained marriage
Martha EatonAlfred's mother, offering quiet emotional guidance
Samuel EatonAlfred's father, embodying rigid family and business traditions
Natalie BenzigerAlfred's extramarital lover, representing personal fulfillment
Supporting roles include as Lex Porter, Alfred's loyal friend and confidant from his wartime days. appears as James Duncan MacHardie, a senior executive. Elizabeth Allen makes her film debut as Sage Rimmington, a social acquaintance in high-society circles. has a brief appearance in a party scene as Clemmie Shreve, adding to the film's depiction of elite gatherings. Casting for the lead underwent changes during ; Paul replaced Richard Egan, who had been initially signed to star opposite Woodward. This marked the third on-screen collaboration between real-life spouses Newman and Woodward, following (1958) and Rally 'Round the Flag, Boys! (1958), with their established chemistry enhancing the portrayal of the central couple's marital dynamics. Balin's selection brought a fresh, vulnerable appeal to Natalie, propelling her from stage work to Hollywood prominence through this emotionally charged supporting turn.

Filming

Principal photography for From the Terrace commenced in early December 1959 and concluded in late February 1960, directed by Mark Robson, who also served as producer. The production schedule allowed for a mix of studio work and on-location shooting to capture the film's East Coast settings authentically. Filming took place across multiple sites to depict the story's transitions from a Pennsylvania hometown to New York City's financial district. Primary locations included New York City, with exteriors shot in Central Park and on Wall Street, as well as interiors at Fox Movietone Studios. On Long Island, scenes were filmed in Glen Cove, Jaggers Cove, and Old Westbury Gardens to represent affluent estate settings. Additional exteriors utilized Jersey City's train station as a stand-in for Philadelphia's Reading Terminal, Phoenixville, Pennsylvania, for small-town sequences, and West Adams Boulevard in Los Angeles for some interior work. The film was shot in with the process, resulting in a 144-minute runtime. Leo Tover's work highlighted urban contrasts between the modest Philadelphia-area environments and the bustling sophistication of New York, employing wide-angle compositions to underscore the protagonist's social ascent. Production faced logistical challenges in balancing studio interiors with extensive to achieve realism in business and social scenes, necessitating efficient scheduling to stay within the $3 million budget.

Music

composed the original score for the 1960 From the Terrace, blending lush orchestral romanticism reminiscent of and with dissonant, foreboding elements to underscore the tensions of ambition and romance. His work features subtle jazz-inflected touches, such as in cues depicting emotional turmoil, aligning with Bernstein's broader exploration of in 1960s scores. The score includes a prominent love theme, a soaring nine-note carried by sweeping strings that accompanies scenes of career ascent and romantic entanglement, contrasted by more intimate motifs for personal relationships, often highlighted by solo , , or . It comprises over 20 cues, totaling approximately 71 minutes, with examples including the dissonant "" for family conflicts, the twisted "" for flawed romance, and the menacing "" with driving rhythms for dramatic tension. The music was recorded using Twentieth Century-Fox's advanced six-track system, capturing the orchestral depth in a manner suited to the 's presentation. Throughout the film, Bernstein's purely instrumental score—lacking any songs—serves as an emotional amplifier, heightening key beats such as Alfred Eaton's arc through poisonous, castanet-punctuated motifs and family confrontations via contrapuntal strings that evoke unease. The recurring love theme, for instance, reemerges toward the film's conclusion to signal Alfred's shift toward personal fulfillment, reinforcing the narrative's dramatic tone without overpowering the . Bernstein completed the score after principal photography, tailoring its sophisticated orchestration to director Mark Robson's vision of an upper-class milieu, with Americana-infused passages evoking Aaron Copland in scenes of professional triumph to match the New York settings' elegance.

Story and cast

Plot

The film opens in 1946 Philadelphia, where Navy veteran Alfred Eaton returns home after World War II to a dysfunctional family. Resentful of his domineering father Samuel, who runs the Eaton Steel company and has long neglected his alcoholic wife Martha following the death of their other son, Alfred rejects an offer to join the family business. Instead, he plans to start an aviation firm in New York with his war buddy Lex Porter, while beginning a romance with socialite Mary St. John, whom he meets at a party. Despite Mary's parents' objections due to the Eatons' tarnished reputation, the couple marries, though Samuel suffers a fatal heart attack on their wedding day, which Alfred interprets as a final act of spite. Relocating to New York, Alfred and Mary initially thrive in high society, but Alfred's ambitions soon dominate. He secures a position at the prestigious investment firm of James Duncan MacHardie, rising rapidly through the ranks while his marriage sours; Mary, feeling neglected, turns to extramarital affairs with various men, including family friends. Meanwhile, during a business trip to , Alfred meets and begins an affair with the young, idealistic Natalie Benziger, whose genuine affection contrasts sharply with his loveless union. As Alfred uncovers corruption within MacHardie's firm, including by a senior partner, he faces a and professional crossroads. Natalie, discovering his , ends their relationship to preserve her , prompting Alfred to confront the emptiness of his success-driven life. In the climax, Alfred exposes the firm's wrongdoing, rejecting a major promotion and publicly denouncing the around him. He then leaves Mary after learning of her , driving to reunite with Natalie and embrace a path toward personal fulfillment.

Cast

The principal cast of From the Terrace features as Alfred Eaton, the driven anti-hero navigating ambition and personal turmoil. portrays Mary St. John Eaton, his glamorous yet unfulfilled wife from a privileged background. plays Natalie Benziger, serving as Alfred's passionate romantic counterpart. embodies Martha Eaton, the tragic matriarch grappling with family dysfunction, while depicts Samuel Eaton, the stern patriarch presiding over the family's steel business empire. The supporting ensemble includes as Lex Porter, Alfred's loyal business partner and friend. Patrick O'Neal appears as Dr. Jim Roper, a professional rival entangled in social and personal conflicts. Elizabeth Allen makes her film debut as Sage Rimmington, the efficient secretary in the corporate world. has a brief role as Clemmie Shreve, a fleeting figure in the high-society scenes. Newman's performance delivers restrained intensity, particularly in the career-driven sequences, earning praise for its classy restraint amid moral complexities. Woodward's nuanced depiction of social ambition stands out as a highlight, capturing the character's inner dissatisfaction with subtle emotional depth. Balin's portrayal of Natalie provides an emotional anchor, marking her breakout role and earning her the Golden Globe for Most Promising Newcomer. The ensemble was selected to emphasize chemistry in the film's family and business dynamics, with Newman and real-life contributing to their on-screen authenticity as a couple. This casting choice enhanced the portrayal of interpersonal tensions in the upper-class setting.

Release and reception

Release

The world premiere of From the Terrace took place on July 15, 1960, at the Paramount Theatre on Broadway and Forty-third Street and the Murray Hill Theatre on Thirty-fourth Street east of Lexington Avenue in . Distributed by 20th Century Fox, the film received a nationwide U.S. release following the New York premiere, with an international rollout beginning in and later that year. Marketed as a prestige drama, it was presented in to appeal to adult audiences. The film runs 144 minutes and was shot in DeLuxe Color with a wide-screen format. Promotional trailers highlighted the on-screen pairing of and , while posters emphasized themes of ambition, success, and personal scandal.

Critical response

Upon its release, From the Terrace received mixed reviews from critics, who praised its visual polish and performances while faulting its narrative execution. of described the film as a "handsome picture, well-performed and emotionally intriguing," highlighting its exploration of a young businessman's rise and personal stagnation, but noted it "lacks real culminative power" due to a slackened pace and overly extended runtime of 144 minutes. Similarly, Variety commended the production's ambition in adapting John O'Hara's novel but criticized its "old-fashioned" direction and a climax that devolves into "one big cliché," attributing some deficiencies to the source material's sprawling scope. The performances, particularly the leads, drew widespread acclaim for their intensity and authenticity. and , portraying the strained couple Alfred and , were lauded for their strong chemistry, with Crowther emphasizing Woodward's "skillful, silken sensuality" in depicting marital discord. Variety singled out Woodward as "excellent" in her role as the neglected wife, while Ina Balin's portrayal of the sincere Natalie Benziger was highlighted for its "dedicated seriousness," providing a compelling contrast to the film's more jaded relationships. Critics also pointed to structural flaws, including overlong pacing that dilutes dramatic tension and clichéd resolutions that undermine the story's potential depth. Crowther observed that director Mark Robson allowed the "pace and dramatic flow" to falter after strong early sequences, resulting in a that feels drawn out without sufficient payoff. Variety echoed this, noting the challenges of condensing O'Hara's expansive novel led to a script that sacrifices nuanced exploration of social and class dynamics for conventional . In modern retrospectives, the film holds a 31% approval rating on , based on 13 reviews, reflecting its reputation as a glossy Hollywood artifact with dated on ambition and upper-class malaise. While the production's visual elegance and star power remain points of appreciation, contemporary views often critique its failure to transcend period clichés in addressing themes of versus personal fulfillment.

Box office performance

From the Terrace earned $5.2 million in and rentals, achieving profitability relative to its $3 million . The film generated additional revenue from international markets, with box office gross of $11.3 million. Released during the summer of amid a slate of blockbusters, it benefited from the drawing power of its leads but faced competition from other popular films of the year, driven by the star power of and . Over the long term, the picture proved a solid mid-tier success for 20th Century Fox, bolstering the studio's portfolio of dramatic films.

Legacy

Awards and nominations

From the Terrace received recognition primarily at the 18th in 1961, where it earned two nominations and one win for its performers. won the Golden Globe for New Star of the Year – Actress for her role as Natalie Benziger, highlighting her emergence as a prominent talent in Hollywood for her role in the film. was also nominated for in a Supporting Role – Motion Picture, facing competition from actresses like in and in Psycho during a year that emphasized strong supporting performances amid high-profile releases such as . The film itself did not secure nominations in major categories like Best Motion Picture – Drama at the Golden Globes. Despite positive attention for and Joanne Woodward's performances as the leads, marking their first on-screen collaboration after their marriage, neither received individual award nods. From the Terrace received no nominations at the , where dominated with wins for Best Picture and multiple other categories. No technical awards or industry nods for its presentation were recorded.

Home media

The film was first made available on home video through a VHS release by CBS/Fox Video in 1990. This edition preserved the original presentation for television audiences during the early era of distribution. The first DVD edition arrived in 2003 from 20th Century Home Entertainment. This widescreen transfer maintained the 2.35:1 aspect ratio and included special features such as a reel depicting the premiere excitement and the original theatrical trailer. A limited-edition Blu-ray followed in 2016 from Twilight Time, limited to 3,000 copies and featuring a high-definition restoration of the visuals with vibrant colors and fine detail. This release offered an isolated audio track of Elmer Bernstein's score, the same reel, and the theatrical trailer, enhancing appreciation of the film's production elements like New York location shoots. As of November 2025, From the Terrace is accessible via digital streaming platforms, available for rent or purchase on , Apple TV, and at Home. These options have broadened its reach beyond . The film's home media availability supports its role in cultural preservation, facilitating retrospectives on 1960s American dramas that explore ambition and . Editions aid scholarly examination of adaptations, highlighting themes of post-war affluence and moral compromise central to his works.

References

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